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“Man in Suit – Dithyrambic I,” 1976
Distemper on canvas
94 ½ x 66 ¼ inches
Courtesy Michael Werner Gallery, New York


NOTE: I’ll be presenting at NY Studio School November 9, and visiting studios. I think this is a student-only event. If not, I’ll send a notice. Thanks, Dominique and Glenn.


Some recent gallery visits, off the top of my head:

  • Y Gallery NYC, G.T. Pellizzi, “Transitional.” I loved this show. It was very tight and DIY at the same time, like a grungy Judd and Flavin mashup, with materials from the hardware and house paint stores and lumberyard. Victoria from Reading Group Number One was at the opening when we visited, and introduced us to the artist and Y staff/owner.
  • Canada, Carrie Moyer, “Canonical.” The paintings were technically sharp woven form “abstractions.” It was my first time at Canada, and the opening was packed (and hot). The gallery exhibit space was excellent. Chinatown is such a strange place for a bustling artist reception in the middle of the week at the end of summer.
  • Pace, Agnes Martin, 90s gray paintings, David Byrne + selected net-art-ish representatives/“Tight Spot” & “Social Media.” Richard Serra, Gago. I’m going to write about the “Social Media” expo and the Talking Heads guy’s balloon/w/sound installation next to the gallery and app ads, etc., in some depth later this week. The Agnes Martin paintings are like the others, but as usual they push a “go” button. I’ve seen a couple of documentaries in which Martin appeared recently, and have been revisiting exchanges I had with Richard Tuttle in Santa Fe, when I was working in the mid-90s on his Venice Biennale install at Goldleaf Framemakers of Santa Fe, and mulling over how the two artists intertwine. It’s not a facile visual connection. …I went into the Serra install ready to be sick of the same-ole-same-ole, but it’s hard not to enjoy the experience of wandering through the big iron maze at Gago, with the crisp-suited of-color guards as pop-up interventionists. Hard also not to furl the eyebrows at the art world"“/market that runs on that fuel. Really.
  • Andrew Edlin Gallery, Jeremy Everett, "Buried Sky.” The show is worth visiting, if only for the emergent quality of the armature-ish figurative drawings that bind the splattery textural goo into sensible structures, that pop from far to near. The scale variances among the arrayed pieces and the gallery light & volumes are nicely considered.
  • Lombard Fried Projects, Eko Nogroho, “Snobs Behind Ketchup.” Shane and I popped in cold on this one, and the weirdness of the translation was enough to make the time spent valuable. The combination of media and the graphic qualities of the images, plus the decorative patterns, nutty colors, and Murakami-style embracing of in-gallery commercial product lines was over-the-top and contrived all-at-once. The price range of the goods was surprisingly comprehensive. More a trans-oceanic, transplant scenario than an exhibit, a lot like walking past a multi-valent & vibrant crew of squires from yonder worlds, in outlandish outfits, on a lower Manhattan street corner, speaking in pigeon, with exuberance a-plenty, and good tunes coming from somewhere, on a summer evening, maybe, and you’re on your way to Frank for supper, but this is making you imagine palm trees, but also evoking possibly some bizarre flipflop of colonial arrangements, a talking-to in another direction, sounds like you’re the target, still and all lighthearted or mostly lively, but this is not certain, and what is for sure is that the exchange isn’t genuinely intended for putting-at-ease, sort of like a red laser dot on the backside, not as a joke but a harbinger, or notice, or whispered message over a loudspeaker, being seen on the scene through an unfamiliar lens, as a generalization, not a representation, in the market, not the neighborhood. Then you realize it’s not a street. It’s a white cube. What medium, what message?  
  • MoMA sucks.
  • White Columns rocks. I saw “Perfect Man II” a couple hours before it opened. The staff were very kind to invite me in, as the install was still wrapping up. The show is a gem. There were a bunch of highlights, but by a long shot my favorite was a video of Bas Jan Ader falling off an A-frame LA rooftop, where he’d been seated on a chair. The shoe sailing away, the crash in the bushes… MAGIC! Again the question, “IS FALLING DOWN ART, IF AN ARTIST DOES IT?”